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THE ARTISTIC  LIFE                   303

can only jar us by its disharmony and by its violent self-
assertion, which we call bad taste. The best architecture is
that which loses itself in the natural landscape and becomes one
with it, belongs to it. This principle has guided all forms of
Chinese architecture, from the camel-back bridge to the
pagoda, the temple and the little open pavilion on the edge of a
pond. Its lines should soothe but not obtrude. Its roofs should
nestle : quietly beneath the kind shade of trees and soft boughs
should gently brush its brow. The Chinese roof does not shout
out loud and does not point its fingers at heaven. It only shows
peace and bows in modesty before the firmament. It is a sign
01 tne place where we humans live, and it suggests a certain
amount of decency by covering up our human habitations.
A   we 7^ Karate to put a roof on all our houses, and
QO not allow them to stare at heaven in their unashamed
nakedness like modern concrete buildings.
f J u     archltecture is that in which we are not made to
W where nature ends and where art begins. For this, the use
01 colour is of supreme importance. The terra-cotta walls of
tte Uimese temple merge harmoniously into the purple of
fe mountain sides, and its glazed roof, laid in green, p4ian


to ff« us a hannomous whole. And
we stand and look at it from a distance and call it beautiful.